One of the
central plot points / visual motifs / pains-in-the-butt of this film was this
huge yellow road sign that has chosen to land on the nice suburban lawn of the
nice suburban Casey family. So while we're shooting the film, I decided, "Wouldn't
it be neat if we could do the end credits on the sign?" One of those decisions
that hits you out of nowhere. But I loved it and so did the director.

There was no time to shoot the actual credits on the sign, but I took photographs
of a complete font set of the signs' lettering. (Two font sets were used to
do the digital sign lettering; a font the sign came with, the name of which
I do not know, and a bastardized form of Impact that I created myself on a letter-by-letter
basis where needed.) I then rotoscoped the letters and assembled graphics.

It turned out
to be a good thing I did this, as we eventually needed that complete font set
to, in post-production, re-letter a sign that had been shot with the wrong words
on it. Therefore, my titles work saved the film. Or at least that scene...
I like to think.

I created the
scrolling credits in a manner suggesting the sign using the Impact font and
perspective distortions to suggest a sign tilting away from the viewer. I did
it in dreamlike, slightly off-kilter colors, to mirror the main character's
fantasy.

I did opening
credits in the same style of text, but only to the point of arranging the lettering;
Daniel Viney did the motion tracking of the titles with Commotion. I myself
did some work on that shot with Commotionwire removal.